Showing posts with label theft. Show all posts
Showing posts with label theft. Show all posts

07 March 2012

Time To Go: Why EU Commissioner De Gucht Has Disqualified Himself From Handling ACTA

Even though the European Commission has referred ACTA to the European Court of Justice, the European Parliament continues to examine the treaty in its various committees. Earlier this week, the one dealing with International Trade met for a preliminary discussion. One of the key speakers was the Commissioner responsible for ACTA, Karel De Gucht, who naturally tried to make light of the many problems that have been raised in recent weeks. 

On Techdirt.

12 November 2011

Misleading Metaphors That Drive The War On Online Sharing

Certain terms crop up time and again in the arguments around copyright infringement and file sharing. Words like "theft" and "stealing" clearly represent an attempt to frame the debate in a certain way. That's hardly a new insight: many posts on Techdirt have pointed out these attempts to manipulate the discourse. 

On Techdirt.

13 September 2011

Copyright Theft

The ideas that "copyright theft" is widespread, and that people are "stealing" digital content from creators, are favourite tropes of the copyright maximalists.  It's total rubbish, of course.  The law clearly states that if it is anything it is copyright infringement, and simple logic tells us that digital copies aren't stealing, because they do not take away, but add.

Yes, there is a question of whether that unauthorised duplication leads to a loss of revenue, but the answer is by no means as clear-cut as people would have you believe.  A range of studies shows that such sharing actually boosts sales, acting as unofficial - and free - marketing.

That's why I've long been advocating independent research into this area - after all, if the copyright industries are so sure that file sharing is leading to revenue loss, what have they to fear from objective research into this area?  And yet strangely they seem reluctant even to countenance the idea.

But whatever your views on that particular issue, it seems likely that the following will only exacerbate the problem [.pdf]:

The [European] Council today adopted by qualified majority a directive extending the term of protection of the rights of performers and phonogram producers on music recordings within the EU from 50 to 70 years.

What this means, in practical terms, is that there is very little chance that I - or any of my more musical contemporaries - will ever be able to use today's music recordings to create new works.  As with the other media, contemporary recorded music will live in a closed, antiseptic bubble that no one is allowed to penetrate for nearly a hundred years or so.

That's all very distant and theoretical; it's hard to see what the problem is, perhas.  So let's look a little more closely at what has happened here by imagining a strange parallel world, remarkable like our own until yesterday, when the following happened:

The [European] Council Council today adopted by qualified majority a directive reducing the term of protection of the rights of performers and phonogram producers on music recordings within the EU from 50 to 30 years.

As you can see, this is almost exactly the same as our world, with the very minor difference that the copyright term for music recordings was reduced by 20 years, instead of being increased.  Pretty minor, you might think - after all, what's 20 years plus or minus?  If it can be increased, it can be decreased, no?

But in that parallel world, imagine the howls of anger and pain that would be issuing forth from the music industry at this outrageous and unjustified appropriation of their rightful dues.  Musicians would be marching in the streets, and the companies that live off them would be lobbying as never before to get this terrible result reversed.

Luckily for them, that was in a parallel world.  But thanks to the symmetry of copyright - that it represents a bargain between creators and the public, with grants of a temporary monopoly to the former in return for the passage into the public domain of the work after that monopoly has expired - that very same expropriation has taken place - from you, me and everyone that goes to make up that nebulous "public".  The only really difference is that no one is marching in the streets to reverse it.

When the musicians recorded their songs, the deal was that they would receive copyright for 50 years (or maybe less, depending on when they recorded it).  In return for that 50 years, they agreed that the public domain would be enriched so that we, the public, could do as we wished with that music.

That compact, freely entered into by both sides, has just been broken.  The recordings will no longer enter the public domain on the agreed date; instead, we must wait yet another 20 years.  In effect, then, we have had 20 years public domain use stolen from us, since nothing was given in return for this sudden loss.

There can be no quibbling here about whether this is really theft, because something we had before has been taken away without our permission.  Yes, the European Council may theoretically be acting in our name, but I don't remember being asked at any point whether I agreed to this.  The fact is that the Council acted unilaterally, at the behest of the music industry that wanted something for nothing - not because we, the public, were begging politicians to change the law in this way and to make us poorer than we were before.

This is what *real* copyright theft looks like: the stealing from the public by yet another unjustified and undemocratic extension of copyright.

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28 July 2011

Not So Fast, FAST

FAST - "Federation Against Software Theft" - is manifestly one of the more risible copyright organisations, since it doesn't even know the law (it's not "theft", it's "copyright infringement" - quite different, because nothing is stolen in these cases.)

Since that is what they are paid to do, its PR company keeps sending me FAST's press releases, which I studiously ignore since they are uniformly ridiculous. But its latest missive is so indicative of what the problem is with the copyright industries, I feel obliged to share part of it (sadly, it's not yet online - I'll add it if and when it appears.)

It's about Newzbin 2, which it inaccurately claims

aggregates a large amount of the illegally copied material found on Usenet discussion forums.

Of course, there's no aggregation whatsoever, just links: Newzbin 2 is a search engine, like Google. Clearly FAST has the same problems understanding that distinction as it does with the difference between theft and copyright infringement.

But the best bit comes towards the end:

Our stance has always been one of carrot and stick – ensuring that customers are educated on the economic impact of piracy as well as advocating compliance with the law protecting creators.

Except, of course, there is no carrot there, just propaganda and threats. And the propaganda is wrong: as I - and others - have noted, there's growing evidence to show that piracy actually boosts sales.

This neatly sums up the problem with the copyright maximalists. Rather than focussing on giving customers what they want - easy access to digital products at reasonable prices - they spend all their time focussing on the stick. Little wonder, then, that the current "victory" in the courts will prove as hollow as all the others, because there is still no "carrot" being offered as an alternative...

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26 September 2010

Sharing: Theft or Duty?

I regard Matt Asay as one of the most perceptive commentators on the world of free software and related areas. So I was rather disappointed to read the following in one of his recent columns, which dealt with the BSA's highly dodgy claims about piracy:

I don't mean to diminish the wrong nature of stealing software. Theft is theft and should be punished.

Here's what I wrote to him:

It is very hard to steal software: unless you creep into a computer store and steal the boxes (do they still exist?). As you know, what really happens is that somebody makes a copy of software: that is not theft, of course, that is copyright infringement. If I make a copy of a piece of software, the original still exists, but there is now a copy that I have. I have stolen nothing - I've actually created something - but I *have* infringed on copyright.

But wait, you will say, when you make that perfect copy you are *effectively* stealing the money that you would have paid for a legal copy. Except that you yourself write: "$1 in "lost" licensed revenue would not magically become $1 in proprietary software sales if piracy were reduced. It's very likely that users would elect to spend their money elsewhere." Exactly: couldn't have put it better myself. You can't start talking about that money that wasn't spent as if it were real and concrete: it's not, it's notional.

Of course, it is probably true that some fraction of the people with pirated copies *would* have bought genuine ones had they not made the copy: so that is truly lost revenue. But it also probably true that pirated copies act as marketing samplers and encourage other people to buy legitimate copies that they wouldn't otherwise have bought – to get support, updates etc. (Indeed, in the world of music, there are half a dozen studies that suggest this is the case.) After all, giving away software for free is the basis of many businesses based around open source.

Calling copyright infringement "theft" really plays into the hands of organisations like the BSA that put out these deliberately misleading studies. "Theft" is an emotive word that biases the reader against the people involved. If you call it "copyright infringement", and note that copyright is a time-limited, state-granted *monopoly* - and I think everyone accepts that monopolies are generally bad things - then copyright infringement simply means infringing on a monopoly. That's a rather different emotional bundle, I think, and a better one to place in opposition to the BSA's manipulations.

Since Matt's reply to me was a private email, I won't quote it here, but essentially his answer was that artists can set the terms under which we access their works, whether or not they are reasonable terms, because ultimately it's their creation.

It's a good point, and so I'll try to explain here why I don't think it's correct.

In fact, artists manifestly don't have an absolute right to choose whatever terms they like under which their works are distributed. In many countries, for example, they are limited by the first-sale doctrine. This means they cannot impose the condition that their book or CD, say, once purchased, must never be sold on second-hand, or given away. So already there are limits to what they can demand.

This is accepted, presumably, because there is a broad consensus that this kind of limitation is not reasonable, and that artists should be obliged, by law if necessary, to give up what they might otherwise have seen as a natural “right”.

What this comes down to, then, is a question of what is generally accepted as reasonable. A big problem with digital copies is that we have never lived in a digital world before, so we have not yet established the social norms there that ultimately will allow laws to be framed to capture what is deemed fair.

Not allowing people to make personal copies and share them for non-commercial use is, I believe, exactly like not allowing people to sell their books second-hand, or to give them away (note that I am not extending this to intentional commercial-scale copyright infringement, which is almost by definition criminal because conducted with the specific aim of depriving creators of their sales.)

It is an unreasonable restriction that will, ultimately, I believe, be seen by the majority of society as such. Indeed, the fact that so many young and even not-so-young people share files today already suggests that we are moving to that point fast.

So, why do I think this is unfair? In many ways it is similar to the thinking behind allowing people to give away or sell books second-hand - and note that in the latter case actual money is involved, whereas it almost never is with personal file sharing, so the latter is actually *less* harmful than the situation in the analogue world. But I am more interested in the giving away of books, so I'll concentrate on that.

When we pass on a book to a friend, or just give it away to a charity shop, say, we are really passing on the experience of reading that book, and the knowledge to be gained from it. It is an intensely social act of generosity, a desire to share a pleasure with our fellow human beings. It allows us to manifest our best qualities, and it can also be an opportunity for us to contribute to the general improvement of society – for example, by passing on an educational book, or one that encourages readers to engage in some activity that is beneficial to all (recycling waste, or becoming more tolerant, say.)

So if we were forbidden from sharing our books with friends and strangers, the world would be a poorer place in many ways, since we lose all these opportunities for generosity and contributing, albeit indirectly, to society's progress. Indeed, it's interesting that many people are finding one of the biggest drawbacks of otherwise convenient e-books is that you often *can't* share them in this way: this makes them a far more lonely, and hence rather sadder pleasure.

Of course, there is one important difference between analogue goods like books and digital ones like music or texts. Whereas I can only share an analogue object with one person, digital artefacts can be copied endlessly, allowing me to multiply my generosity and the joy received from it hundreds, thousands or even millions of times.

Not being able to share digital files turns out to be far worse than not being able to share analogue ones like second-hand books in terms of the positive benefits foregone. Moreover, you don't even have to give up your original copy where digital artefacts are concerned, so there is no disincentive for you to share it; some might even say that the social benefits of doing so are so great, that you actually have a duty to share....

Society has already decided that being unable to share second-hand goods is an unreasonable condition for creators to impose. I believe that we will come to the same conclusion for the sharing of digital files, where the case for allowing such non-commercial, personal transfer is even stronger.

After all, this is not some abstract issue. Currently, billions of people in developing countries cannot access huge swathes of transformative, liberating knowledge because of copyright laws, or are denied life-saving medicines because of drug patents. Being able to share is literally a matter of life and death.

Follow me @glynmoody on Twitter or identi.ca.

29 August 2008

"Piracy" Is Not Theft

For those who find this hard to grasp, here's a picture that may help. (Via QuestionCopyright.org.)